Ben-Hur (1959) Ben-Hur (1959) Pages: ( 1 ) ( 2 ) Background Ben-Hur (1959) is MGM's three and a half hour, wide-screen epic Technicolor blockbuster - a Biblical tale, subtitled A Tale of the Christ. Director William Wyler's film was a retelling of the spectacular silent film of the same name (director Fred Niblo's and MGM's Ben-Hur: A Tale of the Christ (1925)). Both films were adapted from the novel (first published in 1880) by former Civil War General Lew Wallace. Wyler had been an 'extras' director on the set of DeMille's original film in the silent era. MGM's Ben-Hur: A Tale of the Christ (1925), featuring a cast of 125,000, cost about $4 million to make after shooting began on location in Italy, in 1923, and starred silent screen idols Ramon Novarro and Francis X. Bushman. This figure is equivalent to $33 million today - it was the most expensive silent film ever made.

This remake of the novel was inspired by the fact that three years earlier, Cecil B. DeMille and Paramount had remade the 1925 version of his film as a successful 50's epoch Biblical tale titled The Ten Commandments (1956) . The heroic figure of Charlton Heston (an iconic and righteous Moses figure) would again be commissioned to play the lead role in this film of a Jewish nobleman (the Prince of Judea) - after the role was turned down by Burt Lancaster, Rock Hudson and Paul Newman. In the plot, prince Judah Ben-Hur was enslaved by a Roman tribunal friend (with a homosexual subtext provided by co-writer Gore Vidal), but then returned years later to seek revenge in the film's centerpiece, a chariot race. Ultimately, he would find redemption and forgiveness in the inspiring and enlightening finale. The colorful 1959 version was the most expensive film ever made up to its time, and the most expensive film of the 50s decade. At $15 million and shot on a grand scale, it was a tremendous make-or-break risk for MGM Studios - and ultimately saved the studio from bankruptcy.

[It was a big dual win for MGM, since they had won the Best Picture race the previous year for Gigi (1958).] It took six years to prepare for the film shoot, and over a half year of on-location work in Italy, with thousands of extras. It featured more crew and extras than any other film before it - 15,000 extras alone for the chariot race sequence. Ben-Hur proved to be an intelligent, exciting, and dramatic piece of film-making unlike so many other vulgar Biblical pageants with Hollywood actors and actresses. Its depiction of the Jesus Christ figure was also extremely subtle and solely as a cameo - it never showed Christ's face but only the reactions of other characters to him. It was one of the most honored, award-winning films of all time. It was nominated for twelve Academy Awards, Best Picture, Best Actor (Charlton Heston - his sole career Oscar), Best Supporting Actor (Hugh Griffith), Best Director (William Wyler), Best Color Cinematography, Best Color Art Direction/Set Decoration, Best Sound, Best Score, Best Film Editing, Best Color Costume Design, Best Special Effects, and Best Screenplay (sole-credited Karl Tunberg).

It was the first film to win eleven Oscars - it lost only in the Screenplay category due to a dispute over screenwriting credits (Maxwell Anderson, Christopher Fry, and Gore Vidal were all uncredited). Titanic (1997) and The Lord of the Rings: The Return of the King (2003) are the only films to tie this phenomenal record, although unlike this film, they came away without any acting Oscars. Many felt that Heston's performance was inferior to other nominees in the Best Actor category: Jack Lemmon in Some Like It Hot or Laurence Harvey in Room at the Top, and James Stewart in Anatomy of a Murder. The chariot race sequence in the Circus Maximus (an amazing replica of the one in Rome) is one of the most thrilling and famous in film history. [Homage was paid to it with George Lucas' pod-race in Star Wars: Episode I - The Phantom Menace (1999) .] The site of the race, the Circus Maximus in Jerusalem (Judea), was constructed on over 18 acres of backlot space at Cinecitta Studios outside Rome, and the filming of the sequence took about five weeks.

Except for two of the most spectacular stunts, both Charlton Heston and Stephen Boyd did all their own chariot driving in the carefully-choreographed sequence. There are contradictory reports about the fatality of a stuntman during the dangerous scene in the film, yet no published discussions of the film mention the accident, and Charlton Heston's 1995 autobiography In the Arena specifically stated that no one was seriously injured (beyond a cut on the chin) during the filming of the scene. The Story A prologue describes the historical background - the film is set in Jerusalem during the time that Jesus was born and became known for his "radical" teachings: Anno Domini - In the year of our Lord, Judea for nearly a century had lain under the mastery of Rome. In the seventh year of the reign of Augustus Caesar, an imperial decree ordered every Judean each to return to his place of birth to be counted and taxed.

Converging ways of many of them led to the gates of their capital city Jerusalem, the troubled heart of their land...Even while they obeyed the will of Caesar, the people clung proudly to their ancient heritage always remembering the promise of their prophets that one day there would be born among them a Redeemer to bring them salvation and perfect freedom. Joseph of Nazareth, of the family of David of Bethlehem, is seen being questioned and counted by Roman officials. As originally shown, the film opened with a series of tableaux of the birth of Christ Nativity sequence and the coming of the Magi. The next scene, "Anno Domini XXVI," is in sharp contrast to the Nativity scene. The newly appointed Roman Tribune Messala (Stephen Boyd), the ambitious commander of the legion that precedes the new Roman governor, rides through Nazareth, on his way to the ancient city of Jerusalem. Messala is returning to his boyhood home after some years in Rome.

The pagan ruler Sextus (Andre Morell), whom Messala is replacing, tells him that the country is changing and the people are reluctant to honor Rome: I think you'll find the people changed since you were a boy...They won't pay their taxes in a rational resentment of Rome...then there's religion. I'll tell you, they're drunk with religion, smash the statues of our gods, even those of the Emperor. Autocratic in nature, Messala intends to "punish them" by enforcing the Emperor's command upon the "rabble rousers" and restoring order so that Judea may be a more obedient and disciplined province. Unrest is also due to the preachings about a Messiah, a "King of the Jews who will lead them all into some sort of anti-Roman paradise." There's also a wild man in the desert named John the Baptist and a young carpenter's son "who goes around doing magic tricks, miracles they call them...This man is different. He teaches that God is near, in every man.

It's actually quite profound, some of it." "To fight an idea," Messala explains, you fight "with another idea." A centurion informs Messala that "there's a Jew outside" who wants to see him. The other Roman soldiers are surprised to see Messala agree to greet a Jew, a potential enemy of Rome. Messala has respect for the influential Jewish prince Judah Ben-Hur (Charlton Heston) and tells his centurion: "This was his country before it was ours. Don't forget that." The two men have been like brothers, and they are reunited. The stout, handsome Ben-Hur, who belongs to one of the country's wealthy families in Judea, arrives to pay his respects to his boyhood friend. They embrace each other warmly in the long, stone-columned hallway of the Roman garrison lined with spears. Ben-Hur says he "drank a toast" to Messala when he heard the news he had become a tribune.

They challenge each other to a friendly competition, hurling javelin spears into the point where two wooden beams cross in the ceiling, exclaiming: "Down Eros, up Mars!" Their aim at the crossbeam and their friendship is "still close...in every way" after so many years. One is a Roman, one is a Jew. Messala realizes it will be a difficult province to govern and asks for Ben-Hur's help and advice. Ben-Hur is opposed to Roman domination and suggests: "Withdraw your legions. Give us our freedom." But Messala cannot - he is second in command to the new governor who will arrive in a few days with two more legions. Ben-Hur is more and more hateful of Roman anti-Semitism and argues against his childhood friend. Messala warns: "There is rebellion in the wind. It will be crushed." Messala has traveled and fought extensively throughout the Roman Empire - in Britain, Africa, and Spain, and he sees a Roman world in the future, a master race: Be wise, Judah. It's a Roman world.

If you want to live in it, you must become part of it...I tell you, Judah, it's no accident that one small village on the Tiber was chosen to rule the world...It wasn't just our legions...No, it was fate that chose us to civilize the world - and we have. Our roads and our ships connect every corner of the earth, Roman law, architecture, literature and the glory of the human race. Ben-Hur believes in the Hebrew people of Judea: "I believe in the future of my people." Messala asks that Ben-Hur, an admired and respected aristocrat, speak out against rebellion and futile resistance to Rome that would only end in the extinction of his people. But Ben-Hur finds it difficult to join in a pact against Jewish rebels. Messala realizes the difficulty of what he asks, as he pours wine for a toast: "It's an insane world, but in it there's one sanity, the loyalty of old friends. Judah, we must believe in one another." They cross arms and drink to that pledge.

The next day, Judah's mother Miriam (Martha Scott) and his sister Tirzah (Cathy O'Donnell) also receive Messala warmly in their home, almost as one of their family. Messala presents a Libyan brooch to Tirzah. Likewise, Ben-Hur gives Messala a valuable white Arabian horse as a token of their friendship (foreshadowing the chariot race to come), and Messala thanks him: "It's going to be like old times, I know it." Messala also asks about their previous day's conversation, and inquires which of his friends are strong opponents of Roman rule. In effect, Messala asks Ben-Hur to turn traitor on his people, and reveal the names and identity of Jewish underground resistance leaders - referred to as "criminals." Judah refuses to betray his compatriots and coreligionists by becoming an informant in an act of friendship. In return for bringing order into Judea with Ben-Hur's help, Messala promises him advancement in the eyes of the new Emperor Tiberius.

To Messala, the Emperor "is God, the only God, he is power, real power on Earth." Ben-Hur responds by pledging his allegiance to his own people, refusing to become part of the Roman world: "You may conquer the land, you may slaughter the people. That is not the end. We will rise again." Judah turns against Messala with an angry denounciation: Rome is an affront to God. Rome is strangling my people and my country and the whole earth, but not forever. I tell you, the day Rome falls, there will be a shout of freedom such as the world has never heard before. Messala offers an ultimatum - be with him in helping to eliminate rebellion or against him. "If that is the choice, then I'm against you," Judah affirms. Marking him as a troublemaker, Messala breaks off their friendship abruptly. Miriam and Tirzah are saddened to hear that Messala has suddenly left their home, hearing that he wanted to use Ben-Hur to betray their people.

A caravan returns from Antioch and Ben-Hur's servant Simonides (Sam Jaffe) and his daughter Esther (Haya Harareet) arrive at the household. Judah grants her permission to marry a merchant in Antioch, offering her freedom from slavery as a wedding present. Later in their darkened upper room in the tentative love scene, they share a few memories of their childhood and he offers her a loving thought before she departs: Judah: If you were not a bride, I should kiss you goodbye. Esther: If I were not a bride, there would be no goodbyes to be said. After they kiss each other, she wipes a few tears from her eyes. Shortly thereafter, the new Roman governor Gratus (Mino Doro) rides in a heavily-guarded parade into Jerusalem. Townspeople watch quietly from the rooftops and streets as the provincial governor marches through the crowds. At the house of Ben-Hur on the parade route, Judah watches with Tirzah from the roof of their palace. When Tirzah leans forward over the rail to get a better view of the governor, she accidently loosens a heavy roof tile which breaks off.

It falls to the ground below, spooking Gratus' horse, throwing him into a wall and injuring him. Although it is clearly an accident, and Judah attempts to take the blame, it is interpreted as an assassination attempt. Troops under Messala's command are ordered to break into the palace and they arrest Judah and his entire family as rebels. Messala goes to the roof alone to examine the tiles and accidently dislodges pieces of the tiles himself, realizing Judah told the truth. In prison, Judah learns he is to be taken to Tyrus to become a galley slave without a trial. He makes a daring escape from his guards, forces his way into Messala's presence with a spear, and is allowed to speak. Ben-Hur demands that Miriam and Tirzah be freed, accusing Messala of being evil. Messala claims he is not evil, while explaining how he must put his duty as Roman tribune ahead of friendship: I wanted your help. Now you have given it to me. By making this example of you, I discourage treason. By condemning, without hesitation, an old friend, I shall be feared.

A heartless Messala plans to frame them, to make an "example" of the family to advance his own position in the new government. In utter frustration, Judah begs for their freedom but is denied. He threatens to spear him unless he frees Miriam and Tirzah. Messala counters with a promise that they will be put to death that day (nailed to crosses in front of him) unless Judah surrenders. In anger, Judah hurls his spear into the wall next to Messala. As he is taken away, he vows revenge on Messala: "May God grant me vengeance. I pray that you live till I return." Messala replies, mockingly: "Return?" He is led away through the archway of cross beams, bringing to mind the friendly javelin rivalry of their reunion only days earlier. Without a trial, Miriam and Tirzah are also imprisoned. Even Judah's servant Simonides, who has come to Messala to plead Judah's case, is held for questioning. Ben-Hur is sentenced into exile to the slave galleys, and forced to join other prisoners chained together on a forced march across the desert in the searing hot sun to Tyrus.

Along the way under the heat and lash, many prisoners die. When they stop enroute at the small town of Nazareth for water, the slaves are permitted to drink only after the soldiers and their horses are finished. The guards allow all the slaves to drink except Judah. As he lies in the sand, collapsed from dehydration and crying "God, help me," a hand (from the carpenter, Jesus of Nazareth) quietly reaches toward him with a gourd of drinking water and defies the centurion's orders. In the uplifting dramatic moment, Ben-Hur is protected from harm from the dumbstruck Roman guard. Ben-Hur gains fortitude and strength from the encounter. Over three years later, Ben-Hur has toughened, surviving the galley slave ordeal so far. He is one of over 200 galley slaves shackled to an oar in a Roman galley flagship. A new Roman officer Quintus Arrius (Jack Hawkins) arrives on board to take command. Below deck, Arrius surveys the health and condition of the slaves, and he speaks to Ben-Hur, identified as condemned galley slave number Forty-One.

Arrius realizes much about Forty-One's character after whipping his back, realizing that his hate has kept him alive: You have the spirit to fight back but the good sense to control it. Your eyes are full of hate, Forty-One. That's good. Hate keeps a man alive. It gives him strength. All the slaves are told: "You are all condemned men. We keep you alive to serve this ship. So row well and live." Later, the Roman admiral Quintus Arrius orders a demonstration of the galley's speed necessary for battle, attack, and ramming. He forces his rowers to perform at a faster and faster pace, set at a punishing rate by the sound of a pounding drum. Some of the galley oarsmen die of heart attacks, and all collapse following their ordeal. Except Judah, who sits erect, strong, noble, and defiant. Arrius notices Judah's prominent attitude and sends for him to learn about his background during his relief period. Ben-Hur asserts that he is not ready to die - the god of his fathers will save him. Arrius offers to take Judah to Rome and train him as a gladiator or charioteer.

Ben-Hur believes that his existence has a purpose, that his God will free him to take revenge on his enemy for wrongfully condemning and imprisoning him and his family. Forty-One's stubbornness and hate have kept him alive while other men have perished all around him. Arrius thinks he is foolish to believe in freedom: "You will never escape while we are victorious. If we are not, you will sink with this ship, chained to your oar." Ben Hur refuses the offer unless it means his freedom. In one of the more spectacular scenes in the film, the Romans fight against Macedonian pirate war ships in an exciting sea galley battle. Arrius orders that Judah's leg be unchained during the coming battle to give him a chance to survive. Their ship is rammed, oars are smashed, bodies are splintered, and their ship is boarded. Judah breaks loose, strangles one of the guards and retrieves the keys, frees many of his fellow prisoners from their chains, and goes on deck to find the flaming galley ship boarded by pirates in fierce hand-to-hand combat with the Roman soldiers.

Ben-Hur miraculously saves the life of Quintus Arrius who has been knocked overboard and quickly sinks with his heavy armor. Judah pulls him to a piece of floating debris and prevents him from drowning. They view the flaming wreckage. Thinking he has been humiliated in a defeat, Arrius tries to commit suicide but Judah prevents him. Exhausted, they both collapse - recovering consciousness the next day. Arrius: Why did you save me? Judah: (answering with another question) Why did you have me unchained? Arrius is not allowed to repeat his suicide attempt, and begs: "Let me die." Judah repeats back the words he has heard so often: "We keep you alive to serve this ship. Row well and live." A Roman ship picks them up, and they learn that the Roman fleet was victorious, although five ships were lost. Arrius tells Ben-Hur: "In his eagerness to save you, your God has also saved the Roman fleet." Arrius offers Judah the first drink from a cup of water.

Passing by an opening in the deck, Judah looks down and is reminded of his past - he sees the galley slaves rowing in the darkness below. Quintus Arrius celebrates victory with Ben-Hur in Rome, riding side-by-side with him in a golden chariot to an appearance before the divine Emperor Tiberius (George Relph). Although the emperor is aware that Judah was a galley slave, condemned as a threat to a Roman governor years earlier, Judah is given to Arrius as his slave. Ironically, Judah becomes an expert charioteer in the great circus (arena), one of the classic Roman arts of war that he once rejected. In gratitude, Arrius legally adopts him as his foster son and rewards him with his freedom. He also is given control over his stable of racing horses. Arrius introduces Judah to "My old friend Pontius Pilate," a Roman who worries about his upcoming appointment as governor of troubled Judea, replacing Gratus. Although Judah is devoted to Arrius, and attains worldly citizenship, money, position, and praise, he cannot forget his homeland and his family's fate.

He tells Arrius that he must leave and return to Jerusalem. Months later, on his long journey on the return to Judea, Ben-Hur meets Balthazar (Finlay Currie) of Alexandria (one of the three men who followed the Bethlehem star and put gifts before a newborn baby). Balthazar introduces him to his host - a wealthy, bearded Arabian horse trainer Sheik Ilderim (Hugh Griffith), who is training his four splendid white horses for the upcoming chariot races. Judah impresses the Sheik with his "keen eye" and knowledge of horse racing. The sheik attempts to talk Ben-Hur into being his charioteer: "Would you make my four run as one?" Judah is invited into the Sheik's tent for refreshment and to tell of his racing days in Rome. The polygamous sheik is dismayed that Ben-Hur hopes to have only one wife some day: "One wife? One god, that I can understand - but one wife! That is not civilized. It is not generous." With a clap of his hands, the team of four Arabian horses, called "beauties," are invited into the tent like his "children," members of the family.

[In Wallace's novel, the names of the white horses are specified (they are named after stars): Altair, Aldebaran (the youngest), Antares, and Rigel.] Ben-Hur's curiosity is aroused when he learns that Messala will race in Jerusalem's circus. The Sheik tries to capitalize on Judah's interest and asks again: Judah Ben-Hur, my people are praying for a man who can drive their team to victory over Messala. You could be that man! You could be the one to stamp this Roman's arrogance into the sand of that arena. You've seen my horses. They need only a driver who is worthy of them. One who would rule them with love and not the whip. For such a man, they would have raced the wind. Judah would rather confront Messala on his own: "I must deal with Messala in my own way." The wise Balthazar insightfully knows what Judah really means: Balthazar: And your way is to kill him. I see this terrible thing in your eyes, Judah Ben-Hur. But no matter what this man has done to you, you have no right to take his life. He will be punished inevitably.

Judah: I don't believe in miracles. Balthazar: Your whole life is a miracle. Why will you not accept God's judgment? You do not believe in miracles, yet God once spoke to me out of the darkness, and a star led me to a village called Bethlehem where I found a newborn child in a manger. And God lived in this child. By now, he is a grown man, and must be ready to begin his work. And that is why I have returned here, so that I may be at hand when he comes among us. He is near. He saw the sun set this evening as we did. Perhaps he's standing in a doorway somewhere on a hilltop. Perhaps he is a shepherd watching, a fisherman. But he lives in all our lives. From now on we'll carry his mark. There are many paths to God, my son. I hope yours will not be too difficult. As one last thought before Judah leaves, the Sheik reminds him: "There is no law in the arena. Many are killed. I hope to see you again." Audience Reviews for Ben-Hur: A Tale of the Christ ½ I think I ought to re-watch this movie.

I did just watch it last week, but it was so long I got bored and wasn't paying attention. I do remember a few good scenes, and the epic landscapes and enormous cast are really cool looking, but it's just so long. It really looks like an expensive picture, and the main cast does a good job, so I think it deserves a re-watch. Aj V Super Reviewer Well made movie, especially by 1926 standards. Memorable chariot race (although I can't help wonder how many horses and people must have been killed to shoot that scene!) Mara Barker Amazing at times what they could do on such a large scale in the '20s. I almost like this better than the '59 version. The color scenes are quite astounding, too, for being hand-drawn over the photography. The chariot race isn't as good as the '59 version, but it's still quite good. Plus, the galley fight is awesome. A sea of people, literally, fighting on two life-size ships!

Jeff Bachman It's a Thirty-Two Horse Pileup in the Hippodrome Today The funny thing is that this is an hour shorter than the '50s Heston version and still has more than a few scenes I think are unnecessary. I'll admit it's been a while since I read the book, but I don't think Lew Wallace, Civil War general and governor of New Mexico, put in quite as much actual stuff from the Gospels. As I recall, the whole point was that his characters sort of skirted around the edges of the story of Jesus. Yes, the subtitle is "A Story of the Christ," successfully leaving in that "Christ" is a title, but the one thing the movie gets right is in never actually showing all of Jesus. His hands proffer a gourd of water, but His face remains unshown by the camera. However, this particular version of the story feels the need to show us the Holy Family on Christmas Day in early Technicolor. No mere hanging about at the Sermon on the Mount for this version. Let's put them all right up in front so we don't forget whose story this "really" is.

Except it's really the story of Prince Judah Ben-Hur (Ramon Novarro), scion of a minor Judean line of princes. One day, he happens to knock a tile onto the head of a Roman dignitary arriving in Jerusalem, killing him. For this "act of treason," Ben-Hur is made a galley slave, his mother and sister (Claire McDowell and Kathleen Key) are thrown into prison, and all the assets of the House of Hur are seized except what faithful slave Simonides (Nigel De Brulier) and his daughter, Esther (May McAvoy), have already taken away to Antioch. Ben-Hur serves three years as a galley slave. During a battle with pirates, he saves the life of Arrius (Frank Currier), a Roman official, who has him freed and adopts him as his son. Arrius also encourages Ben-Hur, known in Rome as Arrius the Younger, a great athlete, in his goal of seeking out Simonides--and, of course, his mother and sister. Which, of course, leads to the dramatic chariot race. Ben-Hur's antagonist is one Messala (Francis X.

Bushman, actually not a stage name), a Roman with whom he played as a child. Messala is all grown up and Roman, and it is he who declares the accident a murder and has Ben-Hur made a galley slave. It is he who throws the mother and sister into prison. And it is he upon whom Ben-Hur wants revenge. When Ben-Hur has a chance to ride against Messala in a chariot race, he takes it; those things were vicious and sometimes lethal. (It is believed that a man was killed in the original Roman filming of the chariot race, but that footage never made it to the screen. Several horses died in the Hollywood reshoot.) Ben-Hur is the only one with a team of white horses, so it's even easy to work out which one he is. Alas, it's the one usually somewhere in at most fourth place, which makes the suspense die a little. Even leaving aside that you know he has to win. After all, he's got fifty thousand gold pieces riding on the outcome! During the filming of the remake, Gore Vidal says they realized that the hero and the villain had "a minor disagreement about politics." It's far more than that here.

There is extraordinary racism in this work--among the characters. The filmmakers vilify Rome, perhaps a hint more than is deserved, but the anger between Ben-Hur and Messala comes from what Messala says about Jews as a people. Throughout the movie, characters say that Ben-Hur cannot do anything worthwhile because he is a Jew. During the betting before the chariot race, when Ben-Hur is known as the Unknown Jew, only one of the reasons the odds are so heavily stacked in Messala's favour is that people know who Messala is and know of his skill as a charioteer. There is in all of them the assumption that a Jew cannot beat a good Roman. He's got some unfortunate things to say about a Greek in the chariot race as well, though he does seem to be a fan of a certain Egyptian woman. This isn't DeMille, but it feels as though it ought to be. There is enormous sweep to it, and it's even been suggested that well over a hundred thousand people were in it all told, though of course that's mostly extras. But what extras--half of Hollywood seems to have at least watched the chariot race, whether they were a Name yet or not.

The film's producers appeared in the crowd. Such later luminaries as Carole Lombard and Myrna Loy appeared as slave girls. Indeed, one of the many, many assistant directors during the Hollywood version of the chariot race was a young man by the name of William Wyler, who would win an Oscar for the better-known version of this movie some thirty-five years later. This became one of those Big Stories which arguably went a long way toward shaping Hollywood; this one definitely influenced the treating of animals and stuntmen. There's even a one-reeler which predated this by some time, but I have a hard time imagining how you'd fit an epic of this magnitude onto one reel. Edith Nelson Ben-Hur: A Tale of the Christ Quotes There are no approved quotes yet for this movie.

Discussion Forum Why "Ben-Hur" is My Favorite Movie WHY "BEN-HUR" IS MY FAVORITE MOVIE Or, How Non-Believers Mayeth Enjoy a Perennial Easter Favorite THE DAILY OBJECTIVIST (21 APRIL 2000) By Chris Matthew Sciabarra [On 14 April 2000, TDO published Sciabarra's list of favorite movies taken from his " Favorite Things " page. Sciabarra received a number of emails from Objectivists, who are atheists, asking him to explain his choice of "Ben-Hur"--a film with a religious theme--as his favorite movie of all time.

What follows is a slightly expanded version of Sciabarra's TDO published response; given the reappearance of the ancient epic in film, in such movies as "Gladiator," "Alexander," and "Troy," and of the Christ story, in Mel Gibson's "The Passion of The Christ," this discussion of "Ben-Hur" remains timely.] Within days after The Daily Objectivist reprinted my lengthy list of favorite movies, I received mail from disgruntled readers upset by the "random" quality of my choices, which seemed, they said, to bear "no relation" to one another or to Objectivism. Though I had prefaced my list with a warning against the disease of PC ("Philosophical Correctness") within Objectivism, I was not surprised by the charred epistles I received. One reader, however, was especially disturbed by the choice of "Ben-Hur" as my favorite film of all time. In a post to the movies@wetheliving.com discussion group, he argued that while the film had "some fantastic action sequences...the plot resolution is a literal deus ex machina: Christ shows up, cures everyone of leprosy and saves the day.

Certainly this deserves some kind of demerit from a rational (not to say artistic) perspective." Since the published list had no more than two or three sentences of explanation attached to each entry, I think it is worthwhile to offer some explanation at least for my choice of "Ben-Hur" as my all-time #1. How it all began When I was nine years old, I saw "Ben-Hur" at New York City's majestic Palace Theater. It was the tenth anniversary re-release of the all-time Oscar champ, and the movie was being shown in all its magnificent 70-millimeter glory. Walking into the Palace, seeing the famous portrait of Judy Garland, who had just passed away, and then taking in some three and a half hours of ancient Roman spectacle, was an overwhelming experience. I loved the story and was as deeply moved by its characters and themes as any nine-year-old could be. Today, after having seen the film umpteen times, I have learned to appreciate it on many different levels.

The film, among the 100 greatest selected by the American Film Institute , won an unprecedented eleven Academy Awards (tied in 1998 by "Titanic" [and in 2004 by "The Lord of the Rings: The Return of the King"]), and has been celebrated by directors from Martin Scorsese to James Cameron for its immense artistic impact. In my view, there is not a single Oscar award that it did not deserve. The cinematography, film editing, art direction, set decoration, sound, and special effects are superb. Its score, written by the great Mikl�s R�zsa , is among the finest achievements in symphonic soundtrack music ever recorded; in fact, the themes stand on their own as orchestral compositions in their eloquent expression of passion, struggle, and redemption. (For an introduction to the importance of orchestral scores from an Objectivist perspective, see Jeff Britting's essay, "Romantic Music: Dead or Alive?," in ART Ideas 5, no. 3 (1998): 7-8.) Charlton Heston's "Best Actor" performance (in the title role) is one of the most nuanced of his career.

Hugh Griffith's supporting actor performance (as Sheik Ilderim, owner of the horses that Ben-Hur rides to victory in the chariot race) and William Wyler's remarkable direction were also worthy recipients. (The only Oscar the movie failed to grab was the one for "Best Screenplay," an omission that can probably be chalked up to Hollywood politics. The script involved everyone from Karl Tunberg to Christopher Fry; even Gore Vidal got into the act. Wyler was livid that Tunberg was the only nominee, and he publicly praised Fry's contributions in Variety. The controversy apparently led most Academy members to vote for "Room at the Top" instead of "Ben-Hur.") Ultimately, however, it matters not how many awards or accolades a film garners. What matters is the film. Is it a work of art worthy of our attention? Such a question has much to do with the plot and the theme, which is why some Objectivists might be disturbed by my selection of a film explicitly subtitled "A Tale of the Christ." Levels of appreciation But as Ayn Rand tells us, there are many levels on which we can appreciate art.

Rand lists four dimensions of appreciation: the literal (which pertains to the specific events of the story); the connotative (which pertains to the values portrayed or suggested through the events); the symbolic (which operates on a deeper level of meaning); and the emotional (which encapsulates our spiritual response to art). "Ben-Hur" is based on the post-Civil War novel (1880) written by General Lew Wallace. Translated into a well-known play, and into three cinematic versions (the one-reeler 1907 version, the sprawling 1925 MGM version with Ramon Novarro and Francis X. Bushman, and the 1959 MGM epic), the book, says C. L. Bennet, is "one of the most successful works of fiction ever written in any language." As a film, it is at once passionate and subtle, both action-packed entertainment and a testament to aesthetic symbolism. No brief summary of the story can do it justice, for there are many interconnected characters and subplots. Here, I present the essentials.

The film tells the story of a wealthy Jew, Prince Judah Ben-Hur, who is reunited with his boyhood friend, Messala (played by Stephen Boyd), who saved Ben-Hur's life when they were boys. The strong emotional ties between these two characters have been described as "homoerotic" by Gore Vidal, who had a small hand in the script. Upon their meeting, they hug and laugh, and, arms intertwined, drink to their mutual happiness. They throw spears in friendly competition, hitting the same target ("where the beams cross"--an omen of the crosses to come), "still close in every way"--except one: Messala is a Roman in a Roman world...Ben-Hur is a Jew. Messala has returned to the province of Judea a Tribune of Imperial Rome, in the hopes of making Ben-Hur a collaborator in Roman rule. When Ben-Hur refuses to name the freedom fighters among his people, the friendship is irreparably fractured. Later, Ben-Hur and his sister Tirzah (played by Cathy O'Donnell) watch from the roof of their home as the new Roman Governor, Valerius Gratus, enters the unfriendly city with Messala.

There is an accident: Tirzah leans on some loose tiles that fall to the street and strike the governor. Ben-Hur takes the blame, swearing it is an accident, but Messala will hear none of it. He orders Ben-Hur, his mother, and his sister into custody. And though he discovers the loose tiles himself, he wishes to make an example of the family of Hur. This one action, knows Messala, will strike fear into the hearts of potential Judean terrorists. An oath of vengeance As Messala sends him off to slavery in the galleys of the Roman fleet, Ben-Hur swears revenge. He leaves behind his mother, Miriam--played by Martha Scott, who also played the mother of Moses (Heston) in "The Ten Commandments"--and sister, who are sentenced to prison as co-conspirators in the attempted assassination of Gratus. Ben-Hur also leaves behind a woman named Esther (played by Haya Harareet), daughter of his steward, Simonides (played by Sam Jaffe).

(The ties between Esther and Ben-Hur are not immediately consummated, but their romantic bond is clear.) Crossing the desert on the way to the galleys, Ben-Hur nearly dies of thirst. He is given water by a young Nazarene, a carpenter's son. His strength is renewed, his life saved. The symbolism of the water, its cleansing power and life-giving qualities, is used in so many instances throughout the film that it merits an essay in and of itself. After three years as a galley slave, Ben-Hur, who has been reduced to a number ("41"), meets the Consul of Rome, Commander Quintus Arrius (played by Jack Hawkins). Arrius tells the galley slaves that they are all condemned men who will die chained to their oars: "We keep you alive to serve this ship. So row well and live." Despite the brief on-screen time they share, the scenes between Heston and Hawkins are striking in depth.

(See especially the camera cuts that flash their expressions during a test of wills, as Arrius orders the Hortator to increase his rhythm to "ramming speed"--the galley slaves rowing faster and faster, collapsing all around, while Ben-Hur finds the strength to go on.) As a harrowing naval battle against a fleet of Macedonian ships looms, Arrius gives Ben-Hur a chance to survive. In the violent hand-to-hand combat that follows, Arrius is thrown overboard; Ben-Hur dives into the water, dragging him to safety on a floating piece of wood. Thinking the war lost, Arrius wishes only to die. But as they sit safely on the raft, Ben-Hur tells him to "row well and live." Meanwhile, back in Judea When Arrius returns safely to Rome to meet the Emperor Tiberius in a Victory Parade, traveling with Ben-Hur by his side, the emperor allows the Consul to take Ben-Hur as his slave, as reward for his valor. Ben-Hur learns to drive Arrius's chariots to victory in the Roman games.

And although Arrius adopts Ben-Hur as his son, in place of the son he lost, he knows that Ben-Hur yearns to return to Judea in search of his mother and sister. Return he does, as the Young Arrius, ordering Messala to find his mother and sister or pay the consequences. Some four years after their imprisonment, they are now thought dead. But they are discovered in the lower levels of a Judean prison--lepers. On their way to the Valley of the Lepers, they stop at the house of Hur, now in darkness and disarray. Miriam and Tirzah beg Esther not to tell Ben-Hur of their plight; she swears on her love for him to respect their wishes and to tell him that they are dead. Devastated by this news, driven by desires for revenge, Ben-Hur confronts Messala in the Judean circus. The ensuing chariot race (copied to some extent by Lucas in "Star Wars: The Phantom Menace") is among the greatest single cinematic achievements in the history of film. Ben-Hur emerges victorious. But with his dying breath, Messala exacts one last cruelty on his old friend.

He tells Ben-Hur that his mother and sister are alive, and that he can find them in the Valley of the Lepers: "if you can recognize them." Indeed, says Messala, "the race is not over." Broken, sobbing, and helpless, Ben-Hur begins a slow descent into spiritual corruption. Though a new citizen of Rome, he knows that he has become "part of a [larger] tragedy." He becomes self-pitying, consumed by hate, disgusted with the world at large. He wants to cleanse the land in blood. He laments ever having taken a sip of the stranger's water in the desert. "I should have done better if I'd poured it into the sand. I'm thirsty still." Pontius Pilate (played by Frank Thring), the newly-appointed Roman governor, fears Ben-Hur's growing influence and instructs him to Rome before "crucifying" himself "on a shadow such as old resentment or impossible loyalties. Perfect freedom," claims Pilate, "has no existence." But Ben-Hur renounces his ties to Rome. He begins to understand how the authoritarian power of the Empire corrupts the best among men (shades of Rand's We the Living).

Not only was his friend corrupted, Ben-Hur declares, but he himself is "unclean...and at the mercy of tyranny." He understands Pilate's point that the world is Rome (indeed, Rome would be the world, the given, for another 400 years). But if full political freedom for his people is not immediately possible, it is still possible--and necessary--to seek a rational life in an irrational society. Or as the Christ figure says in another MGM epic, "King of Kings"--while it may not be possible to be freed from one's prison cell, it is still possible to be free within one's prison cell. What Ben-Hur seeks is peace within himself, even as he contemplates death. Checks premises But Esther tells Ben-Hur that "death generates death." She pleads with him to listen to the words of peace being spoken by the Rabbi from Nazareth. When Ben-Hur, committed to the destructive path before him, refuses, she declares: "It was Judah Ben-Hur I loved. What has become of him? You seem to be now the very thing you set out to destroy, giving evil for evil. Hatred is turning you to stone.

It's as if you had become Messala." Stunned by the comparison, Ben-Hur checks his premises. He eventually travels to the Valley of the Lepers, and, with Esther, finds his sick mother and dying sister. They begin a search for the Nazarene. The search is stillborn. Condemned by Pilate, Christ walks to his death on Golgotha. Ben-Hur recognizes the man--he is the man who had given him water in the desert, and the will to live. He attempts to return that gift, struggling with Roman guards to give Christ a sip of water. But the water barely touches Christ's lips before it is kicked to the ground. A witness to Christ's execution, and of Christ's courageous ability to rise above a state of metaphysical torment, Ben-Hur begins to reassert his own will to live. As a storm commences, the blood of Christ drips into puddles of water, which carry this most precious blood throughout the countryside. It is ironic that Ben-Hur would have cleansed the world in blood, for here blood and water merge.

In a powerful series of mythic images, the cleansing rain falls on the lepers, and at the moment of Christ's death, they too are cleansed. Ben-Hur tells Esther that he felt Christ's voice, Christ's call for forgiveness, telling him to take the "sword" out of his hand. The physical miracle, which he celebrates upon seeing his mother and sister alive and well, is a symbol of the greater spiritual miracle: for in the end, Ben-Hur reclaims his values, and his life with those he loves. In the earliest scenes of the movie, the centurion Sextus had told Messala that he wondered how the Romans would ever control Judea given the powerful "ideas" that fuel its struggle for freedom. Messala answered: "You ask how to fight an idea. Well, I'll tell you how: with another idea." And so the conflicts in the film are conflicts of ideas: of individual liberty versus state power, of love versus hate, of values versus their extinction, of salvation versus corruption.

The film is indeed bracketed by two divine events: the first scenes concern the Adoration of the Magi and the final scenes take place in the shadow of Christ's Cross, as we witness shepherds tending to their flock. Christ makes a few cameo appearances, but we never actually see his face or hear him speak. More than anything, we feel in him the symbolic presence of the call for personal redemption in the face of oppressive tyranny and self-exile. About the same age as Christ, Ben-Hur is also on trial, and like the soon-to-be resurrected Christ, Ben-Hur must triumph over the darkness. [The parallels with Christ are quite explicit actually; when Ben-Hur wins the chariot race, Pilate, the Roman Governor, places the crown of victory upon his head and declares Ben-Hur the cheering crowd's "one true god, for the moment"--foreboding another who will stand before Pilate, wearing upon his head a crown of thorns.] With this "tale of the Christ" taken as backdrop, the film deploys the motif of birth, death, and rebirth with great effectiveness.

(Indeed, the opening credits of the film and its very last frames display God's bestowal upon Adam of the spark of life as depicted in the Sistine Chapel.) All things possible And so it is possible for a perennial Easter favorite to have meaning for non-believers and even for atheistic Objectivists: for "Ben-Hur" can be read in much more secular terms. The film focuses on how the central character moves from his own unjust imprisonment, to his self-imprisonment via the very vices he seeks to destroy, to his personal redemption. Interestingly, Ayn Rand herself counted a Biblical work of historical fiction as among her favorites. She regarded Quo Vadis? by Henryk Sienkiewicz as one of the greatest novels ever written.

In fact, Rand tells Ross Baker (Letters of Ayn Rand, 11 December 1945, 251): "A book expert in New York told me that the biggest fiction sellers of all times (and the surest recipe for a bestseller) have always been religious novels with a good story (Ben-Hur, Quo Vadis?, The Robe [all made into spectacular epic films--CMS] )--and that The Fountainhead is a religious novel [insofar as] it gives to . . . readers . . . a sense of faith, courage and moral uplift." Clearly, Rand was impressed by other works of Western mythology as well, given her own use of the Prometheus myth, and her own creative construction of novels that might be viewed as epic myths. Many Objectivists would not think twice about recommending Greek and Roman myths and legends, such as "Jason and the Argonauts," "Hercules," "The Iliad and the Odyssey," "The Aeneid," or even modern myths like "Star Wars." Yet they recoil in Philistine horror over reverence for such a masterpiece as "Ben-Hur," which revolves around the Christ story.

The Biblical "mythology" of the New Testament is one of the "greatest stories ever told." It has influenced some of the most passionate literature, art, and music in the Western canon. "Ben-Hur" makes great use of this imagery and conveys through it a powerful message of individual struggle and salvation. Thumbs up; way up. Ben Hur (2016) Movie Storylines 3 more The epic story of Judah Ben-Hur (Jack Huston), a prince falsely accused of treason by his adopted brother Messala (Toby Kebbell), an officer in the Roman army. Stripped of his title, separated from his family and the woman he loves (Nazanin Boniadi), Judah is forced into slavery. After years at sea, Judah returns to his homeland to seek revenge, but finds redemption. official plot version from paramount.com Action Drama Remake Period Trivia & Production Notes Based on Lew Wallace's 1880 epic novel Ben-Hur: A Tale Of The Christ. The film returns to the heart of Lew Wallace's epic novel focusing on the nature of faith.

MGM will handle production with Jonathan Glickman, President, Motion Picture Group and Matt Dines, Vice President, Production, overseeing the project on behalf of the studio. The film will be distributed worldwide by Paramount Pictures, with select international territories as well as all television distribution to be handled by MGM. Behind the scenes, the creative team includes Director of Photography, Oliver Wood (Bourne Identity), Production Designer, Naomi Shohan (American Beauty), Costume Designer, Varvava Avdyushko (Wanted), Visual Effects Supervisor, Academy Award® Winner Jim Rygiel (The Lord of Rings Franchise) and Special Effects Supervisor, Andy Williams (Fury). Stay Updated Get the latest alerts by email Questions & Answers Ben-Hur - DVD Movie Central BEN-HUR Stars: Charlton Heston, Jack Hawkins, Stephen Boyd, Hugh Griffith, Haya Harareet Director: William Wyler Length: 222 Minutes Release Date: September 13, 2005 "I tell you...the day Rome falls, there will be a shout of freedom such as never been heard before!" Film **** Ben-Hur is a name synonymous with movie spectacle, and rightly so.

It combines the best of eye popping visuals and thrilling action sequences with a most human story of love, betrayal, revenge and redemption. Its gargantuan in scope, yet minute in detail. Its eleven Oscar wins established a Babe Ruth-style record thought unapproachable in the world of cinema, until Titanic tied it some 40 years later. But in spite of its scope and visual presence, its really the story and characters that make this such a classic and memorable film. Based on the novel by General Lew Wallace, Ben-Hur is not so much A Tale of the Christ as it was subtitled, but a story about two boyhood friends torn apart by political and social stations in the Roman Empire in the first years A.D. Judah Ben-Hur (Heston, in an Academy Award-winning performance) is a Jewish prince. His long time friend Messala (Boyd) is a Roman officer rising to power in the conquered city of Jerusalem. In the early going, they embrace, but Judah is about to learn that the bonds of friendship are easily broken by the seduction of power, as his refusal to inform on his people to Messala puts himself and his family at risk.

An accident gives the ambitious soldier all the clout he needs to make an example of the house of Hur. Judahs mother and sister are carted off to prison, while he finds himself sold into the slavery of a galley ship. This paves the way for the first of the films landmark set pieces, the naval battle. As Judah and his fellow slaves row ferociously below the decks of the warship commanded by Quintus Arrius (Hawkins), the tension is maddening. But either by strange twist of fate, or by the hand of God, Arrius refuses to chain Judah to the ship as is done with the other slaves, and Judah is able to return the favor by saving Arrius when the ship goes down. The grateful Arrius makes Judah his rightful son and heir, but the now powerful Judah cannot enjoy his fortune. He still has a family to free, and a vengeance to stake upon Messala. This comes to pass in the chariot race at the Roman circus. Not enough can be said about this most legendary of action sequences. This lengthy segment has amazed audiences for more than four decades.

Its an absolute masterpiece of fast tracking, camera work, stunts and spectacle, wrapped up in one of the most breathless scenes ever conceived. Its the kind of sequence that can be watched repeatedly or even slowed down to examine one angle at a time, and it never loses its sense of exhilaration. Yet for all its scope, the characters of Ben-Hur are equally as large. If we werent absorbed by their stories, the picture would simply be a big, loud, empty spectacle like Gladiator. But the people are what engage our emotions and hold them through thick and thin. This cast is remarkable, starting with Hestons most memorable performance in the title role and the excellent Stephen Boyd as Messala. William Wyler was a director who proved he understood the complexities and nuances of rich, human dramas with his Oscar winning The Best Years of Our Lives, which made him a good choice for the epic picture Ben-Hur. It would have been tempting to focus on the largeness of the movie and skimp on the humanity. Wylers vision marries the two into an emotionally pure and visually thrilling 222 minutes, and the resulting film left its mark on cinema history.

Ben-Hur is a classic among classics and an epic among epics. What more needs to be said? Video **** Ben-Hur has never looked so good...bravo, Warner Bros.! For starters, Id just like to iterate that if you dont watch this movie in widescreen, you may as well not watch it. With a staggering 2.76:1 ratio, pan and scan versions mean youre literally losing half the picture. (Check out scenes from the film in the included documentary if you need convincing). Ironically, pan and scan VHS versions of the film switched to a widescreen format for the chariot race scene, proving somebody knew how important the screen image was. Even more ironically, because of the extra width, this DVD may mark the only chance for fans to see the film as it was intended, because most modern theatrical prints are Cinemascope or 70 mm, which isnt quite as wide as it should be. The transfer is glorious. The picture doesnt show its age at all to a certain point, with amazingly beautiful and strong coloring, sharp images and crisp detail, and a beautifully clean transfer unmarred by evidence of grain, compression or enhancement.

Even darker scenes maintain a wonderful integrity of imagery. Occasionally, in some scenes, a bit of slight 'flicker' is noticeable near the edges; this is obviously a bit of aging artifact, but again, very slight, and given how old the picture is and how well it looks overall, not something that I can dock points for in good conscience. The original DVD release seemed to have a few flaws directly after the chariot race scene, but for this new transfer, it appears as though they have been addressed and corrected. At least, it seemed like a much more vibrant and clear experience than I remembered. Ill say again for clarity, having owned many previous video versions of this movie: Ben-Hur has never looked this good. Audio **** The new 5.1 soundtrack is a marvelous device for the musical score the orchestration in the stronger scenes opens up among all channels for an enveloping and dynamic listening experience. The .1 channel make the two key action sequences of the sea battle and chariot race come to thunderous life. They have never sounded so powerful and realistic! Apart from those, the audio stays mostly centered on the forward stage, but with good use of crossovers from left to right for dialogue and other effects.

The audio is surprisingly clean and crisp for its age. Very impressive! Features **** This four disc special edition is loaded with outstanding extras that will thrill serious movie lovers. For starters, on the first two discs there is a new commentary track from film historian T. Gene Hatcher...Charlton Heston's original DVD commentary, which was kind of sparse, is actually edited into Mr. Hatcher's talk, so that the track runs more smoothly and fully. While it's a treat to hear Mr. Heston's reminiscences, it's Mr. Hatcher who offers the wealth of trivia, inside information, and terrific stories about the making of the movie and the eventual success. A terrific listen all the way through. But how about this for a treat...Disc Three contains the original 1925 silent version of Ben-Hur as directed by Fred Niblo! Starring Ramon Novarro and Francis X. Bushman, this movie version was as much a spectacle in its day as Wyler's was in his. The quality is quite good given the age, and features the original color tinting intact as well as a terrific stereo score by the great Carl Davis.

If you pick this disc up for the 1959 version, don't dismiss the 1925 one...I'm serious, put it in and watch it. You'll be thrilled! The fourth disc has two documentaries, a new 2005 retrospective featuring interviews with George Lucas, Ridley Scott, Ernest Dickerson and others, and the original 1994 making-of classic. There is also "A Journey Through Pictures", an audiovisual recreation using stills, storyboards, sketches, music and voices. You'll get to see some interesting screen tests, including one of a VERY young Leslie Nielsen. Rounding out is a newsreel gallery, a trailer gallery, and excerpts from the Academy Awards ceremony for 1959. An outstanding package! Summary: Classics like Ben-Hur brought to beautiful digital life on DVD are what the medium is all about for me. This Warner offering is as good as it gets: great video, great audio, great features package that will keep you busy for days. Wholeheartedly and unreservedly recommended...this is a must-own!

Question: In the film ‘Ben Hur’, what was the title character’s first name?
Answer: Judah